I’m not the type of person who can walk into an major art gallery and name all the artists. I appreciate art. I have, to a very limited extent, studied art. But I’ve never been very pro-active about the whos and whats and wheres.
Anselm Kiefer, though, left an impression.
I saw a piece by Anselm Kiefer on a school trip to London and I was awestruck. I couldn’t articulate why, exactly. I just was. In love, and in awe, and in pain. I didn’t know anything about the artist, or have any clue of what the piece was, but it didn’t matter. He had me. And follow-up research confirmed my bias. But I didn’t honour the connection; I left it at that.
Ten years later, in Forth Worth, Texas, I entered the Modern Art Museum, and as soon as I rounded the first bend, my feet glided, hastily and of their own volition, across the gallery floor, toward a large canvas on the opposite wall. Anselm Kiefer, my entire body whispered with reverence. I’m gonna feel really fucking stupid if it isn’t, just a tiny little part of my brain warned with trepidation.
And the date I had left standing at the other end of the gallery, with no explanation, was enamoured with the display.
Do I think that might have been why, the next day, as I was heading to catch my train, he asked me to stay with him, despite the fact we’d met only three days ago? And do I think that might have been why, for months afterwards, he sent me messages to tell me of his plans to improve himself and his life, in what seemed like a desperate attempt to win me over? Well, yeah, actually.
If humans can project emotion – and they can – what I was projecting in that moment was profound. Vibrant, intense, ecstatic, pure. It was beyond me as much as it was within me. And if he caught it, well, that would be it. It’s the kind of thing you would chase.